Vampire Barnabas Collins and mad scientist Julia Hoffman have come unstuck in time and found themselves in the year 1995. The estate of Collinwood is in ruins, dominated by an evil ghost named Gerard. Barnabas’ distant cousins Carolyn Fredericks (née Stoddard) and Quentin Collins are insane. Occult expert Timothy Eliot Stokes is sometimes openly hostile, sometimes apparently helpful, but never his usual trustworthy self. Everyone else they knew in 1970 has either gone missing or died. Julia has fallen under the possession of Gerard and turned against Barnabas. Most unaccountable of all, the sheriff of Collinsport is not completely useless at his job.
Barnabas has received a note from Carolyn asking him to meet her in what remains of the great house. He and Julia enter the house; she insists on waiting in the foyer. While he goes into the drawing room, she stares up at Gerard, standing in his usual perch on the walkway at the top of the stairs. Barnabas looked right at Gerard there yesterday and did not see him, so apparently he can be selective about making himself visible.
Barnabas finds Carolyn sitting at the desk in the drawing room. She falls over dead. He calls for Julia. Gerard shakes his head, and she does not respond. Barnabas goes to the foyer and brings her to the spot where Carolyn had lain a moment before; she has vanished. The note she was writing is still on the desk; it is made up of six cryptic phrases which Barnabas declares to be clues as to what happened in 1970. He reads them aloud- “The night of the sun and the moon,” “The night Rose Cottage was destroyed,” “The unfinished horoscope,” “The night I sang my song,” “The picnic,” “The murder.” Julia keeps interrupting him, declaring that the phrases are meaningless and Carolyn was mad. He keeps wondering why she has become so uncooperative.
Barnabas tells Julia to find a telephone and call the sheriff. Often on Dark Shadows, people dismiss the idea of calling the police when someone turns up dead, saying that it’s too late to do anything but bury them and move on. But after a lot of back and forth, Julia goes off and does place the call.
Barnabas goes to open the secret panel in the drawing room to see if Gerard stashed Carolyn’s remains there. Gerard himself appears to Barnabas. Barnabas yells at him for a while. Julia comes back, and Gerard disappears. Julia wonders why Gerard did not try to harm Barnabas; Barnabas says that he knows he cannot harm him. This seems to be news to Julia. In 1970, Quentin knew that Barnabas was a vampire. We learned the other day that his contact with Gerard erased this knowledge. We may wonder if this fact has also slipped Julia’s mind.
Barnabas goes upstairs, and asks Julia to bring the sheriff to him when he gets to the house. She agrees. Once he is out of earshot, she asks Gerard if he had to kill Carolyn. She seems sad about it.
Barnabas is at the door of the one room at Collinwood that is in good repair, a mysterious playroom on an upper floor. He can’t get the door open. Julia brings the sheriff, and Barnabas says that the door wasn’t locked when he was there earlier. The sheriff says he has some questions and Barnabas angrily responds “Not now!” Cops don’t love it when you answer them that way, in my experience, but the sheriff does seem to be a bit cowed by the surroundings and he lets it pass.
Barnabas asks the sheriff to try the door. He does, and the knob turns easily. He turns to Barnabas and asks sternly “How much of this is in your imagination, Mr Collins?”
Barnabas’ embarrassment doesn’t last long. Carolyn is laid out on a table in the middle of the room, a spray of flowers on her chest. The sheriff remembers how lovely Carolyn was when she was young; Barnabas stalks around the room yelling at the invisible Gerard. When the sheriff says it is time to go, Julia insists on sitting with Carolyn for a while. The sheriff tells her she’s crazy to want to stay in the middle of the house. He’s not exactly sane himself, leaving her alone at what is after all a crime scene. Once the sheriff and Barnabas have gone, Julia receives further instructions from Gerard.
Barnabas, the sheriff, and Julia pay their respects to the late Ms Fredericks. Screenshot by Dark Shadows Before I Die.
The sheriff finds Quentin at the Old House on the estate. He questions him, and gets some very strange answers. Quentin has worked himself into a state when Julia comes back. She announces that she is a doctor and will now give Quentin a sedative. The sheriff takes her word for her professional credentials, and tries to wrestle Quentin into position for her to give him an injection. He can’t manage it, but Julia speaks to Quentin in a tone that is sufficiently authoritative it calms him down right away. Once he is sedated, Quentin asks the sheriff to take him back to the psychiatric facility from which he recently escaped. The sheriff agrees.
The sheriff turns to Julia and asks where Barnabas is. In lieu of an answer, she tells him to come back to the house immediately before sunset. We cut to Barnabas opening the lid of his coffin. The sheriff is there, sticking a cross in his face, and announcing “I know all about you, Barnabas Collins!” Odd as his behavior in the playroom may have been, this sheriff clearly has more on the ball than did any of his predecessors. It’s a good thing the others weren’t up to his standards. If Sheriff Patterson had been as quick to catch on to what was going on around him in April 1967, Barnabas would have been staked by the end of the month and Dark Shadows would never have become a hit.
Sheriff Patterson may be on the minds of longtime viewers. Sometimes fans wonder what Barnabas’ ultimate plan was when he returned to prey upon the living in 1967. Weren’t the Collinses going to catch on that there was something a bit odd about their “cousin from England” sooner or later, as girls kept disappearing or turning up drained of blood? I think the answer is what we see in these two weeks of episodes, and also in the feature film House of Dark Shadows. Had Barnabas gotten his own way, eventually all living people would have fled Collinwood and no one from the village would have dared approach the estate. He’d have ventured forth occasionally to take fresh victims, but otherwise Collinwood would have been entirely cut off from the outside world. The buildings would have decayed and the grounds been overgrown. It was only because Julia showed up and devised a way to limit his consumption of human blood and to give him hope his curse could be put into remission that he himself did not long ago reduce Collinwood to the condition to which Gerard has brought it.
I wonder how long the actors had the script before they started taping this one. As unspeaking, barely mobile ghosts Gerard and Daphne, James Storm and Kate Jackson didn’t need much prep time; as lunatics Carolyn Fredericks (neé Stoddard) and Quentin Collins, Nancy Barrett and David Selby probably didn’t need much more. But vampire Barnabas Collins has a lot of dialogue today, and Jonathan Frid rarely seems to be within a country mile of his scripted lines. That isn’t so unusual, but Grayson Hall’s trouble really stands out. Barnabas’ friend, Julia Hoffman, MD, is possessed by Gerard and is pleased that Barnabas keeps meeting with one failure after another. We are supposed to know this, Barnabas isn’t. But she has a huge grin on her face each time she gloats to Barnabas about one of his setbacks. The one time Frid is clearly delivering a line that was written for him, Barnabas tells a conspicuously blissed-out Julia that she seems “almost pleased.” Hall was a highly accomplished actress, and we would expect her to be able to do “secretly pleased” in her sleep. But when this line comes up, she gets a bad laugh.
Far and away the happiest we have ever seen Julia, this strikes Barnabas as “almost pleased.”
The episode ends with Barnabas going to the drawing room of the great house of Collinwood in response to a note from Carolyn. He finds her sitting at the desk there. He talks to her for a moment, then notices that she is not moving. He touches her, and she falls over dead. The episode has its problems, but that is an extremely effective closing curtain.
Vampire Barnabas Collins and mad scientist Julia Hoffman have come unstuck in time and found themselves in 1995, 25 years ahead of their proper period. The great house on the estate of Collinwood is in ruins. Some of the people they knew are missing, some are dead, and the rest are determined not to help them find out what happened when disaster struck in 1970.
In his post about the episode on his great blog Dark Shadows Every Day, Danny Horn writes that “if this is July 1995, then Barnabas and Julia are on completely the wrong track. They want to know where Elizabeth and Roger and Maggie are, and the answer is obvious — they’re watching the O.J. trial. Where else would they be?”
Barnabas’ distant cousin Carolyn owns Collinwood now, and she doesn’t have cable. So she is in the great house, a demon-haunted wreck which most people avoid. Julia and Barnabas have followed her there. They hear Carolyn talking and laughing inside an upstairs room that didn’t exist in 1970. They let themselves in. Unlike the rest of the great house and every other structure on the estate, the room is in perfect repair, well-lit and full of luxury items. Carolyn has repeatedly told Barnabas and Julia to stay off her property, even sending the sheriff to arrest them on one of their previous trespassing expeditions to the great house, and she is outraged at this latest intrusion. She demands how dare they follow her into the room, and they respond by praising themselves for their good intentions.
Julia and Barnabas finally leave the room, and Carolyn relaxes. She turns and starts talking to someone who, to her surprise, is not there. She is all the more furious that Barnabas and Julia have driven this person away.
Not content with one home invasion, Julia and Barnabas go to the apartment of their former friend Timothy Eliot Stokes. Before they pushed past him into his parlor, Stokes had been reading a letter from a psychiatric facility where Barnabas and Carolyn’s distant cousin Quentin is a patient. His interior monologue read the part to us about Quentin having taken a turn for the worse. While Barnabas hectors Stokes, Julia leans way down and reads the letter. It turns out Quentin has escaped from the facility. At length, Stokes tells them that he was out of town when the disaster occurred in 1970 and that he doesn’t know much about it. He agrees to help them.
Later in the episode, two scenes take place between Stokes and Carolyn. Carolyn enters Stokes’ apartment and reproves him for collaborating with the enemy. She laments that Julia and Barnabas ruined the birthday party, and that there won’t be another birthday party for a year. He has no idea what she is talking about and tries to reason with her. He finally takes her home. These, like every scene with Carolyn in the 1995 segment, are spectacularly good. Nancy Barrett is an excellent actress, Dark Shadows suited her strengths perfectly, and crazy lady Carolyn Fredericks was as good a part as any performer could wish for. Thayer David was terrific also, and the two of them are unforgettable together today.
Barnabas and Julia return to the playroom, since they haven’t been arrested yet tonight. They find a brand new birthday card addressed to “Tad” and signed “Carrie.” Barnabas has never heard those names in connection with Collinwood and wonder who they could be.
Barnabas says that he wants to question Quentin. Julia responds “Barnabas, If Quentin has been in a mental institution, he can’t help us.” It’s true that it takes special training and considerable experience to gain useful information by questioning severely disturbed people, but Julia has those qualifications. She is a psychiatrist who, when we first saw her in #265, was conducting an examination of a barely verbal patient. Over the last three years, everything that Julia had in those days has been stripped from her, a theme the show has been exploring heavily for the last six weeks. This line seems like a throwaway, but it underlines the transformation we have seen.
Quentin’s existence depends on a magical portrait painted in the year 1897. In an upstairs room at the Old House, Julia and Barnabas find this portrait intact. At that very moment, Quentin himself rushes in with a knife and tries to slash it. Barnabas thwarts him.
Quentin won’t believe that Barnabas and Julia are who they appear to be. He babbles as if he were still in the psychiatric facility. He claims never to have heard of the playroom, then insists the playroom was always there. They take him to the playroom, their third trip there today. Quentin looks in the room and flees in terror. Barnabas and Julia stay, and see the ghost of strange and troubled teen David Collins. The appearance of David’s ghost is one of the most forceful week-ending images in the series, up there with Barnabas’ hand darting out of its coffin in #210 or the Old House in sunlight in #365.
A disruption in the very nature of time and space has thrust vampire Barnabas Collins and mad scientist Julia Hoffman into the year 1995, where the great house of Collinwood is in ruins and everyone is annoyed with them.
Yesterday, Julia and Barnabas were poking around inside the great house against the express instructions of its owner, Carolyn Fredericks, as conveyed earlier in the evening by the sheriff when he arrested them for trespassing. A heavy bust fell from the railing on the top of the foyer stairs, narrowly missing Julia. She and Barnabas fled the house. They looked back, and saw a young man in nineteenth century garb glaring at them from a window.
Today, Barnabas and Julia are in the parlor of the Old House on the estate. She tells him that when she saw the man in the window she was overcome by a powerful sensation. “It was the very essence of evil! I felt evil all around me. I was trapped by it!” Regular viewers may have thought Julia would be used to that by now, but apparently not. “It made me aware of something deep inside me that I don’t even understand — as though, with that one look, he could concentrate every grain of evil I have in my nature! Make it grow, and grow…” She asks Barnabas if he felt the same thing, and he says he didn’t, not at all. He concedes that he is an inhuman abomination from beyond the grave, so maybe he’s immune to that kind of thing.
Meanwhile, Carolyn is at home in the old shack by Finley’s Cove, accompanied by Mrs Johnson, who was the housekeeper at Collinwood in the late 1960s. Carolyn is brushing her hair and smiling. She reminisces about when she was a little girl and Mrs Johnson used to brush her hair. Mrs Johnson is not shy then or later about contradicting anything Carolyn says that is not so, but does not deny that she did that. So the audience is supposed to believe it. Some say this is a retcon, since Mrs Johnson did not join the staff at Collinwood until 1966, when Carolyn was fully grown. But in a comment on Danny Horn’s post about the episode on his great Dark Shadows Every Day, I expounded a theory as to how it might be true:
In the early episodes, Carolyn talks about having gone to school in town. How did she get there?
She can’t have walked; it was miles away, much of it along a winding road with several blind curves. Her mother never left the grounds during those years, she couldn’t have driven her. Roger was living in Augusta with Laura.
(I should expand on this point. Roger says that when Carolyn was born, he was away at boarding school. So he would still have been in college when his niece first became a pupil at Collinsport Elementary. He then busied himself squandering his inheritance, a process which included the ten years between his marriage to Laura and his return to Collinwood. So that doesn’t leave any time for him to have looked after his “Kitten” when she was little.)
The only servant was Matthew. Matthew and Carolyn don’t seem at all close; it doesn’t seem likely that he drove her to school every morning. If a school bus came up the hill to Collinwood day after day, the kids who rode it couldn’t have maintained the attitude Carolyn describes, whispering behind her back about her living with the witch in the haunted house. Sooner or later they’d have started talking to her face to face about it.
Carolyn also talks about Bill Malloy being more like a father to her than any other man, and the two of them do have a cozy relationship. Carolyn is also very quick to fall in with Mrs Johnson when Burke pitches the idea of her joining the household staff at Collinwood. So I think we have to conclude that Bill Malloy and his housekeeper were in charge of getting Carolyn to school in the mornings. Malloy was on the fishing boats, so that would require an early start to the day. There were probably many days when little Carolyn was still in her pajamas when she got to the Malloy house. On those days, Mrs Johnson brushed her hair while the water came to a boil for breakfast.
Comment left by “Acilius,” 27 January 2021, on Danny Horn, “Episode 1064: Here Comes the Hotstepper,” Dark Shadows Every Day, 20 August 2017.
Carolyn seems to be a crazy lady these days. Yesterday, we saw that much of this is an act, but in her scene with Mrs Johnson we see that it is an act she puts on even when she is alone with someone she trusts. It allows her to smile and laugh and be happy even when she is surrounded by the residue of an unimaginable catastrophe.
Carolyn tells Mrs Johnson that she will be going to the great house of Collinwood to get ready to host a picnic at the gazebo, which she pronounces “ga-ZAY-bo” in a bit of Collinsport English that we’ve been hearing intermittently since Lara Parker invented it in the summer of 1968. Mrs Johnson reacts with horror, saying that no one can go to the devil-haunted wreckage of Collinwood, but Carolyn laughs off her objections. Carolyn shows a picture of a picnic they had at the ga-ZAY-bo in 1970, the last year Collinwood was habitable. Mrs Johnson spots a figure in the background and declares that was “the first time we saw him.” Carolyn gets upset and tears up the picture.
Barnabas had insisted to Julia that the man they saw at the window may not be the only supernatural entity operating within the great house, and Carolyn seems to confirm that he is right. She does not want to hear Mrs Johnson referring to him, nor does she want to have a picture of him. But she happily says that she is going to the great house tonight with a present, because it is his birthday. Apparently him and his refer to different beings, each of which inheres in the haunting. One wonders how much of supernaturalism would dissolve if people would just use proper names instead of pronouns.
Julia and Barnabas barge into Carolyn’s house. Carolyn tells them to get out, which they refuse to do. They badger her with the story of what happened when they were illegally roaming around in her other house, and Mrs Johnson runs out. Eventually Carolyn resumes her crazy lady demeanor. Barnabas and Julia give up and leave, and for a moment we wonder if they are on their way to let themselves into some other property of Carolyn’s.
Julia and Barnabas go back to the Old House. They find that Mrs Johnson is waiting for them there. They tell her that they are time travelers, and that if she will tell them what happened they might be able to go back and prevent it. She is dubious about this claim, but starts telling the story anyway. She casts her mind back to the summer of 1970. “It all began when the days were so beautiful, you couldn’t help but be happy. There was a spirit of joy at Collinwood; there was a feeling that hadn’t been there in a long time. There was so much love among all of us at that time…” This would be the period that began immediately after Barnabas and Julia left.
Mrs Johnson says that all of the beauty and joy and love and other things you might experience when you don’t have a vampire and a mad scientist around your estate came to an end one quiet night. She seems to be on the point of saying something important when she looks at the window of the parlor and sees the glaring young man. She breaks off, screams that she won’t tell, and runs out into the night. Julia tells Barnabas she felt the evil presence, and that the ghost was there. They go out to look for Mrs Johnson.
The ghost catches up to Mrs Johnson first. He touches her shoulder, and she dies. When Barnabas and Julia find Mrs Johnson, she is sitting on the ground, her back against a tree, her eyes open. This was the same posture in which Clarice Blackburn’s character Abigail Collins was found when we saw her corpse in #432. That image was a brief shocker in the last couple of seconds of the episode; this time the camera zooms in on Blackburn’s face and pans across it, allowing her to show that an outstanding actress can give a powerful performance even when she is altogether motionless.
Carolyn happens by. Julia and Barnabas hide. Carolyn thinks Mrs Johnson is alive and chatters to her. As the truth begins to dawn, Carolyn’s alarm mounts. Finally Barnabas and Julia emerge from the shadows. Carolyn accuses them of killing Mrs Johnson. They deny their guilt. Carolyn is unconvinced, and indeed we cannot help but think that since Mrs Johnson lived through the 25 years of their absence and turned up dead so shortly after they returned, Julia and Barnabas cannot be exactly innocent.
Barnabas and Julia follow Carolyn into the great house. Julia wonders what Mrs Johnson could have meant by “the children’s old room.” This is a blooper on Grayson Hall’s part- Mrs Johnson mentioned “the room the children called The Playroom.” Julia and Barnabas hear music playing, and follow it to a room upstairs. Barnabas looks at the doorway and remarks that the room was never there when he knew the house. The shot is framed at such a severe Dutch angle that we can tell something isn’t on the level.
They hear Carolyn inside, talking and laughing with at least one other person. Since their whole philosophy of life now seems to be making themselves as obnoxious as possible to Carolyn, they let themselves in.
The sheriff of Collinsport arrests two trespassers at the long-deserted great house of Collinwood. They are Barnabas Collins and Dr Julia Hoffman, who inexplicably disappeared in 1970 and have even more inexplicably reappeared in 1995. The owner of Collinwood, Carolyn Fredericks (formerly Carolyn Stoddard Hawkes) has complained about them.
Barnabas pretends to be his own son, and claims that Carolyn’s mother, Elizabeth Collins Stoddard, put the Old House on the estate in his father’s name in the late 1960s. While we never saw this happen, from 1967 on Liz often did talk about the Old House as if it and its contents were Barnabas’ property. Furthermore, the sheriff’s office appears to be right across the hall from the registry of deeds, and the Sheriff himself appears to be far more competent than most Collinsport law enforcement personnel we have seen, so if Barnabas were lying he would probably catch on.
The sheriff says that Barnabas may have a right to go to the Old House, but that he found him and Julia at the great house. He asks a number of intelligent questions, none of which Julia or Barnabas can answer to his satisfaction. He threatens to hold them on a vagrancy charge. When Barnabas says that “I have a great deal of money… I own property here,” he backs off that threat, but he does tell them that he hopes their friends from Bangor come and take them away very soon.
Barnabas and Julia leave the sheriff’s office. Carolyn enters from the back room where she has been eavesdropping. She asks the sheriff to look at a picture in her photo album. It is a picture of Julia taken in 1970. The sheriff notices that she hasn’t changed a bit, not even the way she wears her hair. He asks Carolyn if she has any pictures of Barnabas, and she says that she does not. She says that the only picture of him she knows of is an oil painting done in the 1790s.
There was another oil painting of Barnabas done in 1967, and Carolyn’s late cousin David took a photograph of him in #659. The 1967 portrait hung in the Old House, which Carolyn may not have visited in the last twenty five years, and the photograph David took was an oddity that likely would not have been put into an album. So it isn’t really strange that she doesn’t think of them.
Carolyn does remember some other things about Barnabas, though. We open with Julia and Barnabas heading towards the Collins family mausoleum in the old cemetery north of town. They find that the door to the secret chamber is standing open, and are shocked that someone else knows about it. They find Carolyn there. They pretend not to have known about the chamber. They also pretend to be puzzled by the empty coffin in the chamber.
Carolyn says she knows why the coffin is there. She tells Barnabas it is waiting for him. Then she turns to Julia and says that it may also be waiting for her, whichever one dies first. They leave. Carolyn closes the panel and says with a gleam in her eye that it is waiting for him.
“It is waiting… for… him.”
Barnabas is a vampire, and the coffin is his resting place. In the fall of 1967, he bit Carolyn and took her as his victim. He was cured of vampirism in March of 1968. The bite marks disappeared from his victims’ necks at that point, and it seemed that their memory of what he was and what he had done to them faded as well.
But for months after, Nancy Barrett played Carolyn as if she remembered a good deal more than Barnabas knew she remembered. The scripts didn’t give her much support in that interpretation, but it was well over a year before she had to make it clear Carolyn no longer knew about Barnabas. Perhaps whatever happened while Barnabas and Julia were away jarred Carolyn’s memory loose. If Carolyn does remember that Barnabas is a vampire, she is being astonishingly reckless in her scene with him and Julia in the secret room. Barnabas takes a menacing tone when she says that she knows why the coffin is there, and the background music makes it clear that he is on the point of striking when she says it is waiting for him. She laughs after she says to herself that “It is for him”; perhaps the light in her eyes is nostalgia for those days in 1967 when she was his blood thrall.
There is also a scene in Julia’s old room at Collinwood where they find that the box containing the notes she took while trying to cure Barnabas of vampirism has been forced open. They wonder who may have seen those notes.
Julia and Barnabas go back to the great house. She points out that the sheriff will lock them up if he finds them there, a concern Barnabas dismisses. He mentions that they have to find another place for the coffin, and suggests the great house. It would be interesting if they were lugging a coffin around when the sheriff showed up, but Julia puts the kibosh on that. Barnabas then says maybe the Old House. They busy themselves running up and down the stairs in the foyer for no discernible reason. They hear some music coming from nowhere in particular. Barnabas declares that this cannot be a sign of danger, since “music is seldom used to frighten.” For months in early 1969, an evil spirit possessed Collinwood and drove the family out by the incessant playing of a sickly little waltz, but apparently that has slipped Barnabas’ memory.
Yesterday, a man called Victor Flagler told Barnabas and Julia that he and his wife Jeanne had gone into the great house on a dare. Something pushed a heavy object off the rail at the top of the stairs. It landed on Jeanne’s head, killing her, and Victor heard laughter in the house. Julia and Barnabas don’t notice that there is a weighty bust perched on that rail today that wasn’t there yesterday, and Julia stands on the floor beneath it. It falls, and she gets out of the way in the nick of time. They leave the house.
We see a blue dot pulsating inside the house. Barnabas and Julia don’t get a look at that, but when they are outside they do see a man in nineteenth century garb sneering at them through a window. He is the face of whatever is going on in the house. The credits give his name as Gerard.
Vampire Barnabas Collins and mad scientist Julia Hoffman have come unstuck in time and found themselves 25 years in the future, in the year 1995. The great house of Collinwood is in ruins. They are trying to find someone who can tell them what happened after they left in 1970.
They meet Carolyn Collins Stoddard Hawkes, who has changed her name to Carolyn Fredericks. Carolyn now lives in an old shack on the beach. She is offended that Julia and Barnabas look the same as they did in 1970. She refuses to answer any of their questions and orders them to leave her house.
During the day, Barnabas takes shelter in his coffin in the secret chamber hidden in the old Collins family mausoleum. Julia leaves the mausoleum and finds Carolyn waiting outside. Carolyn warns her that she and Barnabas must leave the area. Julia goes on her way, and occult expert Timothy Eliot Stokes comes out of the shadows and talks with Carolyn. Carolyn had seemed to be drifting in and out of lucidity while talking to Julia, but she is crystal clear while she and Stokes discuss the need to get rid of the new arrivals.
Julia goes to the county building and tries to get the clerk to answer questions about what happened in 1970. He is frightened by the mention of the date and claims that there are no records of any kind from that year. She finds Stokes in the corridor outside the clerk’s office. She greets him joyously. He tells her to go away, lest he and others be “forced to act.”
After nightfall, Julia and Barnabas decide to visit a man named Victor Flagler, whose name the clerk had mentioned. As Barnabas and Julia leave the mausoleum, Stokes and the clerk watch them go and speculate as to their destination. Evidently the secret chamber is no longer secret at all.
Victor is in his 30s; he has a framed picture of his wife Jeanne that appears to have been taken during the Coolidge administration. Some fans complain that everyone in the 1995 segment dresses in clothes that might have been found at Ohrbach’s in 1970, but I don’t think that’s a problem. The Collinses of Collinwood had a stranglehold on the economy of the village of Collinsport in the 1960s, and if they were annihilated in 1970 and their assets left to rot it stands to reason people in the area would still be wearing the clothes they bought then. But the antique style of this photograph really does take me out of the show:
Victor initially resists having anything to do with Julia and Barnabas, but finally tells his story. He and Jeanne went into Collinwood on a dare, believing it to be just a big empty house. They felt an evil presence there, and something pushed a heavy object from the top of the foyer stairs onto Jeanne’s head, killing her. When Victor found that Jeanne was dead, he heard laughter resounding through the house.
Barnabas and Julia go back to the mausoleum, only to find that the door to the secret chamber is standing wide open. They wonder who knows about it.
The clerk’s name is Ed. He is played by Ronald Dawson, who also appeared in #910 as art restorer Henry Osmund. This is Ed’s only episode, and Dawson’s final appearance. It is also Victor’s only episode, and Cliff Cudney’s final appearance. Cudney played a zombie in #963, 964, and 965. Both Dawson and Cudney have much better chances today to show us what they could do than those earlier parts afforded them. Indeed, all the actors are on top form. All roles played by Nancy Barrett are serious contenders for the title Best Character Ever, and in her scene with Barnabas and Julia in the little house on the beach, we can see that Carolyn Fredericks will be no exception.
Heiress Carolyn Collins Stoddard has had a dream in which her new husband, whom she knows as Jeb Hawkes but who when we first saw him asked to be called Jabe, was in a fight on top of Widows’ Hill. His opponent, a stooge named Sky Rumson, threw him off the precipice to his death. When she awoke, Carolyn ran to the hill in search of Jabe. Instead, she found Sky. He told her that her dream was not complete, because it did not show her death. He then grabbed her by the throat.
Jabe rushes up and knocks Carolyn out of Sky’s grip. He and Sky fight, and Sky does throw him off the precipice. Carolyn escapes.
Back home at the great house of Collinwood, Carolyn finds her mother, matriarch Elizabeth Collins Stoddard, and permanent houseguest Julia Hoffman, MD. It takes her a while to compose herself sufficiently to tell Liz and Julia what happened. Julia offers Carolyn a sedative, which prompts her to jump up and shout a verbal refusal. By the time Carolyn starts telling the story, her distant cousin, old world gentleman Barnabas Collins, has joined them in the drawing room. She interrupts herself to yell at Barnabas that he always hated Jabe and is probably glad he’s dead. When Carolyn finishes, Barnabas slips out. Liz calls the police, and Julia is surprised neither of them saw Barnabas leave.
For the last nineteen weeks, the show has been trying to make a story out of some themes drawn from the writings of H. P. Lovecraft. That segment is usually called “the Leviathans,” after a race of Elder Gods who are behind the action. Jabe was central to the Leviathan segment. Sky is the only other character remaining from it. Barnabas appears in the house where Sky has been crashing and finds him packing his bag. Sky does not understand how Barnabas got in. Barnabas dismisses his question, merely saying that Sky knows there are things he can do that ordinary people cannot. Sky draws a revolver and fires two rounds at Barnabas point blank, without effect. Sky exclaims “Oh, no!” Barnabas is amused that none of Sky’s late colleagues told him that he is a vampire. He takes Sky’s hand, curls his arm back so that the gun is pointing at his heart, and squeezes Sky’s finger onto the trigger.
Back at the great house, Liz gets a telephone call from the sheriff. The police haven’t found Jabe’s body, and have surmised that it washed out to sea. They have found Sky, and have tentatively ruled his death a suicide. Later, Carolyn has another dream. In this one, Jabe shows up and confirms his death. That marks the end of the Leviathan segment. Carolyn will go on using the name “Mrs Hawkes” and saying she misses Jabe, but otherwise the last nineteen weeks will be forgotten.
Before killing Sky, Barnabas had mentioned that he almost regrets not leaving him to the other person who is on her way to do him in. That is Sky’s estranged wife, wicked witch Angelique. Had the Leviathan segment been more successful, or had Geoffrey Scott been even marginally competent in his performance as Sky, they might have made something of the parallels between Sky and Jabe. They are both very tall men with blonde wives who are dissatisfied with them. Angelique is dissatisfied that Sky is a tool of the Leviathans and that he tried to set fire to her on the orders of their representative, and Carolyn is dissatisfied with Jabe because he keeps running away from dangers he has brought on himself by his rebellion against the Leviathans and he won’t tell her anything about himself. Sky is a mortal man, while Angelique may once have been human but has long since become a creature of the supernatural. Carolyn is a mortal woman, while Jabe is now human but was originally a shape-shifting monster from beyond space and time.
But the ratings have been sinking throughout the Leviathan period, and the whole narrative structure of the arc keeps collapsing around them every time they try to do anything with it. So they are in too much of a hurry to move on to the next thing to do any exploring of the characters. Also, Scott is hopeless. As my wife, Mrs Acilius, put it, it isn’t that he is an actor with just one strategy. He keeps trying different things, and none of them comes close to working. We won’t see him again.
The new story has to do with an alternate universe that is occasionally visible in a room in the long disused east wing of Collinwood. Barnabas, Julia, and others have been spying on its inhabitants, and Barnabas is fixated on the idea that if he can cross over into it his vampirism will disappear. Since his bloodlust is overwhelming him, he is desperate to pursue this forlorn hope. He goes to the room when the alternate universe cannot be seen there, and a moment later finds that it has changed with him in it. Julia is in the hallway, looking in. At first she and Barnabas can see each other, and she can hear him, though he cannot hear her. After a moment, Carolyn’s alternate universe counterpart enters and demands to know who Barnabas is and what he is doing in the house.
Barnabas took Carolyn as his blood-thrall in October 1967. The show went back in time to 1795 the following month. In the 1790s segment, Nancy Barrett played fluttery heiress Millicent Collins. We saw that Barnabas first became a vampire in 1796; not long after, he took Millicent as his blood thrall. Shortly after the show returned to contemporary dress in March 1968, one of Julia’s colleagues in the mad science profession applied a treatment that put Barnabas’ vampirism into remission. That freed Carolyn of her connection to him, and at some point she forgot it ever happened.
For most of 1969, Dark Shadows was set in 1897. In that segment, Miss Barrett played repressed schoolmarm Charity Trask. Barnabas bit her, too. Carolyn’s counterpart in “Parallel Time,” known by her married name Carolyn Loomis, is the fourth character* Miss Barrett played on Dark Shadows; considering that Barnabas is so frantically hungry, it looks like she will follow in the footsteps of her predecessors and serve as his breakfast.
*Or fifth- in #819, sorcerer Count Petofi found Charity’s personality to be an irritant, so he erased it and replaced it with that of the late Pansy Faye, a Cockney showgirl/ mentalist. From that time on, Miss Barrett played Pansy, not Charity.
Suave warlock Nicholas Blair first joined the cast of characters in June 1968, posing as the brother of Cassandra, wife of Roger Collins. Since Cassandra was an alias that 200 year old wicked witch Angelique was using, we knew right away this could not be so. Nicholas asserted himself as Angelique’s boss, faced down the ghost of the fanatical Reverend Trask, and kept saying that he had a plan that was far more important than Angelique’s petty little scheme to establish herself in the great house of Collinwood and turn Roger’s distant cousin Barnabas Collins back into a vampire. As played by Humbert Allen Astredo, Nicholas kept us believing for weeks that we would be in awe once we heard his plan.
Eventually, Nicholas stumbled upon the fact that Barnabas’ best friend, mad scientist Julia Hoffman, had constructed a Frankenstein’s monster in the course of a project to keep his vampirism in remission. From that point on, Nicholas declared that his plan was to force Julia to make a female Frankenstein’s monster, to mate the already existing monster to her, and thereby to breed a new race of people loyal only to his master, Satan. He’d been on the show so long at that point that his sudden parachuting into the Frankenstein story only revealed that up to that point, all his talk about his grand design had been empty boasting.
Moreover, Nicholas’ plan for the patchwork people did not make sense in the context of the show. In a novel or movie like Rosemary’s Baby, the audience sees the heroine raped with the acquiescence of her husband, and our horror at that crime gives force to the premise that she will bear Satan’s only begotten son, who, in an inversion of the Christian story, will transform the whole world by the very fact of his birth. Stealing fresh corpses, chopping them up, and stitching them together isn’t the same horror as rape, but it is a pretty disgusting way to spend an evening, so I suppose that will get you off to some kind of start. But if your show is on the air for half an hour a day across the board Monday through Friday, your audience has time to sit with Nicholas’ scheme and think through all of the practicalities it implies. The new race is going to take many years to grow and multiply and overtake H. Sap., even if its members all have Soap Opera Rapid Aging Syndrome. What are we all supposed to do in the interim, watch the Frankenbabies through nanny cams? It isn’t an idea for series television.
Nicholas not only saddled himself with a plan that obviously wasn’t going to work, he didn’t deliver on his claim to be a surpassingly talented sorcerer. In #528, Angelique asked him to slip a potion to one of her adversaries. He complained that “I am much too talented to spend my time drugging drinks,” but he complied with the request. Not only did that turn out to be a waste of time, later he would on his own initiative drug a couple of other people’s drinks, again without the results he wanted.
Eventually, Nicholas fell in love with Maggie Evans, The Nicest Girl in Town. That amused Angelique, who taunted him with all the times when he had sneered at her for the humanity she showed in her emotional attachment to Barnabas. As Nicholas grew fonder of Maggie, his powers became less reliable, and his involvement with the main plot became more tenuous. No longer able to make Angelique obey him, Nicholas was reduced to using unsightly ex-convict Harry Johnson as his henchman. By the time the Frankenstein project collapsed and Satan called Nicholas back to Hell, not even Astredo’s considerable acting talent could make us take him seriously.
Nicholas returned in February 1970, just over five weeks ago. At that point the show was mainly concerned with an attempt the writers were making to take some material from the tales of H. P. Lovecraft and make a story out of them. The Leviathan People are Elder Gods who want to reconquer the Earth and destroy humankind. Their harbinger was a shape-shifting monster who had taken the form of a tall young man and invited people to call him Jabe. Jabe was supposed to join with Roger’s niece Carolyn to produce a new race of people.
The Lovecraft material never came together, and by the middle of February the makers of the show were scrambling to find a new direction. Nicholas appears to have been a last-minute replacement for a different sort of villain who was supposed to take over as the chief menace in the second half of the segment. Now they have thrown out that second half and are trying to get to something else before the ratings drop any further. So they brought back an already established character and plugged him into the scenes originally meant to be played by the one they never got around to introducing.
Bringing Nicholas in to the Leviathan arc makes it hard for longtime viewers to ignore the similarities between the Leviathans’ plan to breed a new race and his 1968 plan for the patchwork people, including the shared weakness that if either plan were successful, it wouldn’t leave you anything to put on a daytime soap. Also, Nicholas explicitly acknowledges that he has already failed in one such project, lampshading the problem but not alleviating it. He also keeps bringing up his “Master,” who is clearly still Satan. No other character in the Leviathan arc makes reference to any themes derived from Christianity- everyone else is living in the determinedly non-Christian world of Lovecraft’s imagination. So he seems out of place from the beginning.
The Leviathans’ plan was already nearing collapse when Nicholas showed up. Every time Jabe has used his powers, the results have backfired on him. His personality has alienated all of his allies. And now he doesn’t even want to be a shape-shifting monster anymore- he fell in love with Carolyn, and just wanted to take her on dates and then marry her. Nicholas is supposed to be the trouble-shooter who will turn this troubled operation around, but nothing about him inspires confidence that he is the right person for that job.
Since Nicholas arrived, things have gone downhill for the Leviathan cause even faster than they had been before. In #966, Nicholas watched in horror as Jabe smashed the box from which he originally emanated, causing all of the Leviathans’ other visible belongings to vanish. Nicholas then declared that everything was over, and that the time of the Leviathans was no more. But they still didn’t have another story ready to go, so he and Jabe have continued to hang around. Nicholas still has one follower, Angelique’s estranged husband Sky Rumson, but since there is no reason for Sky to be on the show either, that isn’t much of a basis for Nicholas’ continued presence. On his great blog Dark Shadows Every Day, Danny Horn called Nicholas a “failure demon”; all in all, that would seem an apt classification.
Today, Jabe turns up at Nicholas’ place. Nicholas knows that Angelique cursed Jabe to be plagued by a mysterious shadow not his own that follows him and drives him mad. This much is borrowed from George MacDonald’s 1858 novel Phantastes, but unlike the Reverend MacDonald’s allegory of sin and anxiety this shadow is a physical weapon that will kill Jabe when it grows strong enough. Jabe asked Nicholas to use his powers to lift Angelique’s spell the other day, but Nicholas refused, even though he claimed that he could and he acknowledged that it would have been to his advantage to do so. The opening voiceover today reminds us that Nicholas knows all about the shadow.
Now, Jabe is telling Nicholas that he was wrong to turn against him, wrong to smash the box, wrong to give up his destiny of leading the Leviathans to global dominion. Nicholas dwells on his exhaustive knowledge of the shadow and tells Jabe he can take the shadow from him and set it on Angelique. He begins to hypnotize Jabe. When he seems to have Jabe in a trance, he tells him he does not give second chances, and that he is going to kill him and Carolyn. Jabe suddenly produces the paper cutout Angelique used to place the shadow curse on him and places it on Nicholas’ jacket. He then runs out of the room. The shadow appears and envelopes Nicholas, who collapses. Even though he knew in advance exactly what was going on, Nicholas still could not avoid death as the result of getting slapped on the chest with a piece of construction paper. He dies as he lived, a failure demon to the end.
Sky enters. Jabe returns, and Sky tells him Nicholas is dead. Sky whines that because Nicholas was not human, his death will not be the end of him and Jabe will not get away with killing him. Geoffrey Scott’s appallingly bad acting reinforces the image of Nicholas as a colossal loser- if this was the only ally he had left at the end, he must have been an even more hopeless stumblebum than we had thought. Jabe exits. A moment later, Nicholas’ ghost appears to Sky and tells him to kill Jabe.
Jabe goes back to the great house of Collinwood to tell Carolyn that he is rid of the shadow. They are married now, but have spent very little time together because the shadow has kept chasing Jabe off. She is puzzled by the whole thing, in part because Jabe refuses to tell her anything about his situation, and is unenthusiastic about Jabe’s renewed insistence that they go away immediately. She agrees to leave with him in the morning.
Carolyn goes upstairs. In the drawing room, Jabe hears Nicholas’ voice telling him that he will never escape. Roger’s son, strange and troubled boy David Collins, enters; Jabe tells him that he and Carolyn are going on a trip tonight.
Jabe sent Carolyn upstairs with orders to pack and tell her mother they were leaving, but it would seem she has not complied. She is snoozing in a chair in her room. She has a dream. It begins with Nicholas’ voice rasping at her that it will all end at Widows’ Hill. She then sees Jabe and Sky, lit in groovy psychedelic colors, arguing about Nicholas and fighting near the precipice. Sky throws Jabe over the edge.
Carolyn awakens, calls for Jabe, and rushes out. On her way she tells David that she is going to Widows’ Hill. A moment later Jabe comes along, and David relays this information to him.
Carolyn gets to the top of Widows’ Hill, where Sky is waiting for her. He tells her that the dream Nicholas sent her stopped short of its end, because he did not want her to see her own death. He grabs her by the throat.
Meanwhile, in another universe…
While Jabe, Nicholas, and Carolyn are cleaning up the messes the Leviathan segment left behind, Roger is busy getting the new storyline off the ground. There is a room in the long disused east wing of the great house in which an alternate universe is occasionally visible. Roger goes there, and sees the counterparts of Carolyn and David. They are talking about the boy’s parents, whom Roger ascertains to be, not himself and undead blonde fire witch Laura Murdoch, but the counterparts of his distant cousin Quentin Collins and of Angelique. Everyone else we have seen in “Parallel Time” has the same first name as their counterpart in the main continuity, but David’s is named “Daniel.”
Roger never found out who Cassandra really was, so it is a puzzle for longtime viewers how he knows Angelique’s name. Carolyn and her mother met her under that name at the house she and Sky shared, but somehow did not recognize her as Cassandra. She visited them at Collinwood after her marriage to Sky broke up, but did not see Roger there.
Arrivals and Departures
This is the first time we see this Daniel Collins, but not the first time we are exposed to his name. The closing credits for #958 billed David Henesy not as David Collins, the role he played that day, but as Daniel Collins. I don’t know whether they had already decided that would be his name in Parallel Time and the person making up the credit roll got confused about it, or if the writers thought the goof was funny and gave the character the name as an inside joke.
Also, Mr Henesy played a character named Daniel Collins in February and March 1968, when the show was set in the year 1796. Since they have established that the two universes diverged during that Daniel’s lifetime, he may be this Daniel’s namesake. There is another connection, an accidental one I’m sure but an accident with a bit of an eldritch quality to it. In #350, three weeks before the 1790s segment began and more than sixteen weeks before Daniel made his first appearance, a slip of Nancy Barrett’s tongue left Carolyn referring to David as “Daniel.” It’s odd that the two Daniels were both heralded by these small inadvertences.
This episode marks, not only the final appearance of Nicholas, but also that of Roger. Louis Edmonds will play Roger’s counterpart in the Parallel Time segment, and as these episodes are being taped he is playing still another iteration of Roger on the feature film House of Dark Shadows. He will also be back in another role later on. But all the character development Roger has gone through since we first saw him in episode 1 is at an end.
Monday’s episode gave Roger his real sendoff, and my post about it summed up his history. I will just mention here that when I first saw Dark Shadows, Roger was something of a puzzle to me. That was the 1990s, when I saw it on what was then The SciFi Channel. The first episode I saw was #193, featuring art dealer Portia Fitzsimmons, but I didn’t have a chance to watch it at all regularly until a month or so after that, when Barnabas had already joined the cast. By that point Roger was already very much confined to the margins.
Curious as to when the dazzling Mrs Fitzsimmons would return, I looked online and found what is now the Dark Shadows wiki. I was disappointed to find that she was a one-off character. I also found that her function was to bring to a head a major story centering on Roger. I then looked through the episode summaries of the first weeks of the show. Those were quite terse and indigestible, meant to remind people who had seen the episodes of points they had forgotten. But one thing I did gather from them was that Roger had been a major character when the show started, indeed its chief villain. I couldn’t imagine the sardonic but lovable Roger of 1967 and 1968 in that capacity, and when I finally saw those episodes many years later I was thrilled by Edmonds’ performance.
One of the strongest themes of Roger’s character in his early days as a villain was his open hatred of David. It is nice for longtime viewers that he makes his final exit with an affectionate fatherly hand on David’s shoulder.
When Dark Shadows began, its most dangerous villain was high-born ne’er-do-well Roger Collins. Since the plan was to kill Roger off after his crimes were exposed, writer Art Wallace and actor Louis Edmonds were free to present him as gruesomely as they pleased. That turned out to be so much fun for all concerned that it soon became impossible to imagine the show without Roger, and the plan changed.
Once Roger was established as a permanent part of the ensemble, they toned his wickedness down. He still did and said awful things, but they would pull him back whenever he might risk alienating the audience. So, he at first openly expressed his hatred for his young son, strange and troubled boy David, and in #68 and #83 coldly exploited David’s mental health problems to manipulate him into trying to murder well-meaning governess Vicki. But when David got Vicki into a situation that might actually have resulted in her death, Roger rescued her. When Roger’s estranged wife Laura showed up and wanted to take David away with her, Roger was so delighted at the prospect of getting rid of the boy that he willfully ignored one sign after another that something was seriously wrong with Laura. But when Vicki finally proved to him that Laura was an undead fire witch who intended to incinerate David, Roger joined in the effort to save him, and was so shaken by the experience that he would never again be overtly hostile to David.
Nor was his attitude towards David the only sign of Roger’s pathological lack of family feeling. He had squandered his inheritance, selling his half of the family business to finance his extravagant lifestyle. His sister, reclusive matriarch Elizabeth Collins Stoddard, went deep into debt buying back what Roger had sold. When Roger ran out of money, Liz took him and David in at the great house of Collinwood. When in #41 Liz reproved Roger for the difficult position she had put him in, he proudly declared that he had “enjoyed” his inheritance, and twitted her for her dreary ways. Liz gave Roger a job in the business, but the only time we saw him visiting his office he answered his phone and told the caller that what he was asking was someone else’s job. When in #273 Roger found that seagoing con man Jason McGuire had tricked Liz into believing that she had a terrible secret that she could keep only by surrendering her whole fortune to him in blackmail payments, he admitted to his sister that if she had confided her troubles in him, he would probably have done the same thing.
When vampire Barnabas Collins succeeded Laura as Dark Shadows‘ supernatural Big Bad, Roger was pushed to the margins of the story. From that time on, he had two things to contribute. The first were sarcastic remarks, many of them very funny, that established him as the show’s sardonic gay uncle. The second, which gave him what little function he retained in the plot, were ostentatious refusals to believe the evidence piling up on all sides that the family was beset by a procession of bloodthirsty monsters. Since several other characters, Liz among them, also refused to face these facts, the show could go long periods of time without featuring Roger at all.
In November 1967, Vicki came unstuck in time and found herself in the year 1795. From then until March 1968, Dark Shadows was a costume drama set in that period. The segment was a hit in the ratings, and a triumph for Louis Edmonds, who was cast as haughty overlord Joshua Collins. Joshua was the opposite of Roger- as protective of the family’s position as Roger was careless of it, as committed to making money as Roger was thoughtless in spending it, as courageous in the face of physical danger as Roger was cowardly. The 1790s segment became The Tragedy of Joshua Collins, as we saw how Joshua’s best qualities led him to create the dark and twisted world in which his descendants would grow up to be weak, selfish men like Roger.
When the show came back from the 1790s, Roger was obsessed with a portrait painted in those days. The portrait’s subject was Angelique, the wicked witch who precipitated the disasters that annihilated Joshua’s family. Before long, Angelique herself returned, wearing a wig, using a false name, and married to Roger. The spell Angelique cast to win Roger occasionally caused him to think he was Joshua, and by the time that story ended Roger had become, if not the imperious tycoon Joshua was, certainly a hard-working, conscientious family man. He still had a languid manner and a way with a quip, but was otherwise unrecognizable as the show’s original Man You Love to Hate.
Evil spirits drove the Collinses out of the great house of Collinwood in #694. That episode marked the end of Roger’s function as one of the “There must be a logical explanation!” people. He was the last member of the family to insist that everyone else was being silly, but when he finally accepted the reality of the situation and was on his way out of the house, he turned to declare to the ghosts that the living would be back to reclaim what was rightfully theirs. From that moment on, Roger was no longer a narrative brake pad.
For most of 1969, Dark Shadows was set in 1897. In that year, we got to know Quentin Collins, who as a ghost would be chiefly responsible for the haunting that had driven the Collinses out of Collinwood. We saw that the living Quentin was a charming rogue, a spendthrift who cheerfully tells his sober-minded sister Judith that he can waste money faster than she can give it to him, inclined to violence when it serves his purposes and quick to run away when he is in danger of being called to account for his crimes. In short, he is what Roger originally was, only played by a younger, sexier actor, and with an unlimited future on a show that has discovered the characters won’t alienate the audience by being evil, only by being dull.
In the 1897 segment, Edmonds played Quentin’s brother Edward, who was not dull, but not evil either. Edward was stuffy and hypocritical. He was occasionally cruel, sometimes because of greed, sometimes because of prejudice, and sometimes because he flew into a panic in the face of an unexpected danger. But he was sincerely devoted to his children, and he had a sense of decency that would assert itself even after he had done awful things. For all his faults, Edward was ultimately one of the most lovable characters Dark Shadows ever created. If 1795 was The Tragedy of Joshua Collins, 1897 was largely the Comedy of Edward.
After 1897, Dark Shadows spent several months bogged down in an attempt to make a story out of some themes drawn from the tales of H. P. Lovecraft. Roger showed up in this part of the show just a few times. Quentin, brought into contemporary dress intact due to his great popularity in the 1897 segment, told Roger what was going on in #958. Rather than scoff as he would have in 1967 or 1968, Roger accepted Quentin’s account at once and helped him in the battle. Roger had by that point turned into Edward. His habit of denial was gone, and with it all of his languor and most of his wit.
Now the show is clearing out the last villains left over from the Lovecraft project and launching a story about a parallel universe that is occasionally visible through a doorway in the long-disused east wing of the great house. Roger is active in both of these plots today.
Even when he was a villain who cared nothing for his son, his sister, his family name, or Collinsport Enterprises, Roger very much enjoyed the company of his niece, Carolyn Collins Stoddard. On Friday, he was hugging Carolyn while she wept about the difficulties she was having in her new marriage; he called her “Kitten,” a term of endearment he has used with her since #4. In those early days, the show was heavy with hints that Roger and Carolyn’s relationship verged on incest. She often answered to “Kitten” in the moments when those hints were most insistent. But there was nothing unwholesome about Roger’s embrace of Carolyn on Friday, and he is irreproachably fatherly in his attitude towards her today.
At rise, Carolyn is in a trap. A man named Bruno, one of the leftover villains introduced while the show was dealing with the Lovecraft-derived material, has tricked her into entering a room where he has already imprisoned her old friend Chris Jennings. Bruno locked the door, and Carolyn saw that Chris was on the floor, writhing in pain. She asks him what is wrong, he won’t answer. Carolyn doesn’t know it, but Chris is a werewolf. The moon is rising, and his pains are the first stage of his transformation.
Bruno’s master wants Carolyn’s husband dead, and has decided that if the werewolf kills Carolyn he will lose the will to live. Since it would have been at least as easy to get the husband into the room as it was to get Carolyn there, and since one of the main things they have told us about the husband is that he is vulnerable to werewolf attacks, this scheme is unnecessarily complicated, marked for the audience as likely to fail. Indeed, since Bruno, his master, and Carolyn’s husband are all short-timers who don’t really need to be on the show anymore, while Carolyn has been a core member of the cast since #2, we can be quite sure it will fail, and if we have spent time over the weekend wondering about the cliffhanger, we’ve spent it wondering what will save Carolyn.
What saves Carolyn turns out to be well-timed intervention by her Uncle Roger. Roger was worried that she wouldn’t tell him why she was crying about her marriage, and followed her to Bruno’s place. He saw her enter, and after a few minutes let himself in. He confronted Bruno in his parlor, heard Carolyn and Chris in the back room, and found that the door to the back room was locked. When Bruno told him the door would stay locked, Roger hit him on the head with a candlestick, knocking him out. He took Bruno’s key, unlocked the door, and freed Carolyn. While Roger telephoned Collinwood to ask for permanent houseguest Julia Hoffman, MD, Chris jumped out of the back room’s window. Roger then decided that he and Carolyn should go home.
It may strike first-time viewers as odd that Roger calls Julia and not the police. Established fans will be unsurprised, knowing that the Collinsport Sheriff’s office is one of the world’s most useless organizations and that Julia is a mad scientist whose powers know few limits. Still, once Roger gets Carolyn home he does tell her they should call the sheriff. She refuses, and also forbids him to tell her mother Liz anything about what has happened.
Roger finds Liz moping in the drawing room. He strikes up a conversation about Carolyn’s troubles. He says that he and Liz both made unhappy marriages, and that it is disappointing to see that the next generation seems determined to repeat their mistakes. He says that he wishes Carolyn would confide in one of them. Liz says that all she knows is that someone or something is threatening Carolyn’s husband, and that she refuses to discuss it. The camera pulls back, and we see that Carolyn is right there. Director Henry Kaplan was pretty bad at moving the actors around and even worse at figuring out where to point the camera, but he deserves credit for this shot. When we suddenly see Carolyn standing there, we realize that Roger and Liz are so deep in their worries that they are oblivious to their surroundings.
Carolyn insists on going to the carriage house on the grounds of the estate to see her husband. Since Bruno is at large, Roger objects. He can’t mention Bruno in front of Liz, since Carolyn has decreed that her mother must not be told what happened earlier in the evening, so he is powerless to stop her going.
Bruno does catch up with Carolyn, and he tells her he is going to kill her. Before he can do so, the werewolf springs out, pushes Carolyn aside, and slashes Bruno. She goes home and tells Roger and Liz what happened. From Carolyn’s description, Liz recognizes the werewolf as the same creature they encountered in late 1968 and early 1969, and Roger rushes out.
Roger finds Bruno on the ground. He tells Bruno he will call a doctor. Bruno says it’s too late. He says a few words (“animal… not an animal…”) and loses consciousness.
Back in the great house, Roger says that the police are searching the grounds for the werewolf. He says it’s terrible that Carolyn should have met with such an incident on top of what has already happened to her. Liz asks what he means, and Carolyn glares at him, appalled at his indiscretion. He stammers out something about how she’s having marital problems, then announces he has to go because he promised to do something for Barnabas.
Roger and Liz never have figured out that Barnabas is a vampire, and though Carolyn was briefly his blood thrall she’s forgotten all about it. So far as the Collinses are concerned, their distant cousin Barnabas is just a night person. Several times now, Barnabas has looked into a room in the east wing and has seen, not the dark space, bare floor, and sparsely decorated walls that are there in his universe, but an alternative version of the room, brightly lit, fully furnished, and heavily decorated. He has seen people with the same looks, voices, and names as people he knows, but with different personalities and relationships. He has reported this to Julia and her friend, Professor Timothy Eliot Stokes, who have explained to him the many-worlds hypothesis.
On Friday, Barnabas told Roger about the room and about Julia and Stokes’ theory. The Roger of 1967 and 1968 would have jeered at Barnabas before he had spoken five words, but in 1970 he believed him readily enough. Barnabas expressed surprise at Roger’s openness to his outlandish account, and Roger acknowledges that “a year ago” he would have dismissed it. It was thirteen months ago that Roger turned and told the ghosts that the living would someday reconquer the great house; when he says “a year ago,” perhaps Roger is rounding down. Roger agreed then to come back and check the room.
When Barnabas showed Roger the room on Friday, it was bare. When Roger goes there himself today, he finds that the parallel universe is there. He cannot pass the invisible barrier in the doorway to enter it, nor can he communicate with the people there, but he can see them and hear them.
The first resident of the parallel universe Roger sees is Bruno’s counterpart. Astonished, he exclaims “I just saw him die!” Parallel Bruno is looking at the portrait of Parallel Angelique that dominates the room and telling it that the music he wrote for her will make her immortal. Roger does not appear to recognize the portrait’s resemblance to his second wife, much less to remember that he himself used to carry on similarly one-sided conversations with her eighteenth century portrait.
Parallel Liz enters and demands to know what Parallel Bruno is doing in the room. He says he belongs there. She tells him he is the only one who thinks so. She tells him that the master of the house, who is Quentin’s counterpart, will be coming home soon, and that he will never tolerate Bruno’s presence. Bruno says that he has heard that Quentin has remarried. When Liz says this is so, Bruno declares that Angelique will never allow another woman in the house. Liz is exasperated that people keep talking about Angelique as if she were still alive. Bruno exits.
Stunned by what he has seen, Roger looks away for a moment. He thinks of going to fetch Barnabas. His attention returns when he hears a conversation between Liz’ counterpart and his own.
Barnabas saw Parallel Roger on Friday; he was talking to the portrait in a way that suggested an obsession not so different from the one which the eighteenth century portrait had inspired in the Roger we knew. Today, Parallel Roger talks to Parallel Liz about Parallel Bruno in an airy, superior manner quite out of keeping with what we have had from our Roger today, but which sounds exactly like him as he was in 1967 and 1968.
PARALLEL ROGER: Was that Bruno, the terrible-tempered boy wonder I saw just now?
PARALLEL LIZ: Yes, he’s come back.
PARALLEL ROGER: Back to compose more of his morbid music and bore us with his tiresome memories of her? Well… It’ll be worth seeing the look on Quentin’s face when he finds out, won’t it?
Alliterative series such as “terrible-tempered” and “more morbid music” were characteristic of the old Roger’s verbal cleverness, as sarcastic expressions like “boy wonder” and complaints of boredom were typical of his habit of advertising his contempt for everyone and everything. Even Parallel Roger’s closing hope of “seeing the look on Quentin’s face,” as opposed to any thought of action he might himself take, is of a piece with the old Roger’s cowardice and laziness. Our Roger is horrified by the sight of his double.
Evidently the makers of the show have decided that Roger’s development has brought him to a dead end, and they are going to use the journey into “Parallel Time” to reintroduce the original villain. That Parallel Roger shares a scene with Parallel Liz suggests that we will again see the dynamic that their counterparts in the main “time-band” pioneered on the show, the conflict between Bratty Little Brother and Bossy Big Sister. This type of conflict is still one of Dark Shadows‘ signature elements, represented most prominently by Barnabas and Julia. The 1897 segment benefited from a similar conflict between Quentin and Judith; the 1795 segment lacked such a conflict, and in its absence they had to lean pretty hard on stories that put individual characters into isolation from the rest of the cast, burning them up one by one. Perhaps they plan to use the old standoff between Bratty Roger and Bossy Liz to keep the Parallel Time story spinning if the overall narrative hits some rough patches.
This episode marks the final appearance of the main “time-band” version of Bruno; the werewolf really did kill him. It is also the last time we will see the werewolf. Alex Stevens was billed as “Stunt Coordinator” when he played the werewolf. He will stay with the show as a stuntman, but won’t get his name in the credits again.
Heiress Carolyn Collins Stoddard and her new husband, who answers to the name of Jeb Hawkes even though when he first appeared he wanted to be called Jabe, have given up on their honeymoon. Jabe is being plagued by a magical shadow that follows him about, as does the shadow that plagues the protagonist of George MacDonald’s 1858 novel Phantastes. Jabe woke up in the bed he and Carolyn were sharing on their wedding night, saw the shadow, and insisted they flee the hotel at once. Since then, they have fled many hotels, and Jabe has kept refusing to explain why. Only after Jabe has ordered Carolyn out of his place in the carriage house on the estate of Collinwood and told her he doesn’t want her anymore does she see the shadow and find out what is going on.
The wedding night scene was the first time we saw two people in bed together on Dark Shadows. Jabe’s shirtlessness, another novelty, emphasized that he and Carolyn had had sex. For its first years, Dark Shadows was as chaste as any daytime soap of the 1960s; there were long stretches when you could not prove that sex even existed in its universe. But it’s the 1970s now, and Carolyn wants more than one experience of connubial intercourse.
Carolyn is determined to help Jabe fight the shadow. He won’t tell her where it came from. She suggests a series of people who might be possible allies in their battle; he responds to each name with a demand that she forget the person. She grows frustrated. She says she will try to enlist the aid of suave warlock Nicholas Blair. Jabe can block this only by going off himself to meet with Nicholas’ henchman Bruno and plead for help against the shadow.
As Jabe is leaving, governess Maggie Evans enters. Maggie brightly asks Carolyn how married life is treating her. When she does not get the usual enthusiastic response, she repeats the question in an uncertain tone. When Carolyn dodges that, Maggie changes the subject. It emerges that Maggie has a dinner date with old world gentleman Barnabas Collins. Carolyn responds, “Oh, maybe someday, you and Barnabas…”
They’ve made something recently of a budding romance between Maggie and Barnabas. As Jabe is keeping terrible secrets from Carolyn, so Barnabas is keeping a terrible secret from Maggie. All of Jabe’s secrets stem from a storyline that never took off, that is now extinct, and that we didn’t particularly want to hear about even when it was going on, so we can sympathize with his reluctance to bring it back up.
But Barnabas’ secret presents immediate practical difficulties. He is a vampire. Where are they going to go for dinner? If they go to a restaurant where the cuisine might appeal to Maggie, there won’t be anything for Barnabas. If they go to the docks and he drinks the blood of a sex worker, there won’t be anything on the menu for her. Also, the most famous storyline on the whole series, the one that first made it a hit, was in May and June of 1967, when Barnabas fed on Maggie, imprisoned her, and tortured her in hopes of erasing her personality and replacing it with that of his lost love Josette. The memory of that has repeatedly been wiped from Maggie’s mind, but even viewers who joined the show long after it ended are aware of it. In fact, right now they are gearing up to take most of the principal cast to Tarrytown, New York to film a feature film adaptation of that story. The sight of Maggie falling in love with Barnabas would therefore be at least a little queasy-making for much of the audience.
Carolyn and Jabe, Barnabas and Maggie, are only two of the troubled couples in this springtime episode. Sabrina Stuart wants to marry werewolf Chris Jennings. She talks with Chris’ great-grandfather, Quentin Collins. There is a strong family resemblance between great-grandfather and great-grandson, in that they are both twenty nine years old. Apparently, at least- Quentin is in fact a centenarian, but the magic spells that put his own lycanthropy in remission also immunized him against aging.
Sabrina says that there is no hope for Chris as long as Bruno is hanging around. Bruno knows that Chris is a werewolf, and has evil plans for him. She tells Quentin that she wants to offer Bruno money to go away and forget about Chris. Quentin doubts this will work, but agrees to go with Sabrina. He promises to come back in an hour. Of course, we know that if he were actually going to go with her he wouldn’t go away in the interim. We probably wouldn’t even have this planning scene, we would find them already on their way to Bruno’s. So the suspense is about what will happen to prevent Quentin meeting Sabrina at the appointed time.
We cut to Bruno’s place. Jabe is there, telling Bruno he needs Nicholas’ help. Bruno ridicules Jabe, saying that Nicholas has no interest in helping him. He also tells him that it wouldn’t matter if someone did help him- he’s going to die soon anyway. When the storyline in which he was introduced ended, he lost the power that enabled him to live. Jabe insists that he can will himself to stay alive. The longer he stays with Bruno, the more opportunities Bruno has to be nasty to him. Bruno says that Carolyn will soon be a young widow, and that she will “need a lot of consoling.” Bruno is in the same amorous mood as everyone else in the episode, and he speculates that he himself might give her some of that consoling. This angers Jabe further.
Quentin makes it all the way to Sabrina’s door when a trident appears on his hand. Returning viewers know that this is the sign of a spell that was cast on him and Maggie, causing them to have an intense passion for one another at irregular intervals. He turns away from Sabrina’s door and goes to call on Maggie. We see the two of them on the terrace at Collinwood. The terrace is often a place for smooching, but it is usually rather stagey, decorous smooching. This is a real make-out session.
Quentin and Maggie getting busy (pronounced “bizz-ay.”)
Sabrina gives up on Quentin an hour after he was supposed to come to her apartment and goes to Bruno’s alone. When Bruno tells her that the money won’t persuade him to forget about Chris, she draws a pistol and announces that she is going to kill him. We cut to the credits.
Again, we know that if Sabrina were really going to shoot Bruno, she wouldn’t have said anything- she would just have taken the gun from her purse and opened fire. My wife, Mrs Acilius, pointed out that the suspense this generates is not whether she will make good her threat, but what will happen to prevent her doing so.
Dark Shadows Commentary 